[SACD-R][OF] Miles Davis – Get Up With It - 1970-1974/2002 (Jazz, Fusion)

 

Without a doubt, 1 of the greatest albums of them all, a double set only comparable to the likes of the Stooges’ “Funhouse” in its darkness, intensity & raw, funky sexuality………cont’d
…….Now for starters let’s get something straight: I loathe “fusion”, & to even CONSIDER putting Miles’ music of the ’70s in that category – a genre filled with Lilly-livered chumps like Return To Forever & the Yellow Jackets – is a great disservice to Miles & his music. From 1969 to ’75, Mr. Davis pioneered & created his own unique sounds, a mixture of hard funk, psychedelic rock, avant-garde electronics & free jazz, that has never been equalled in regards to its sonics or its “vibe”. There is NOTHING that can touch the raised-middle-finger jab in the guts felt when one puts on discs like “Dark Magus”, “Live Evil”, “Agharta”, “Big Fun” or “On The Corner”. The feelings of utter loathing & despair, the overwhelming EMOTION of these discs can be too much, yet nothing can prepare you for 1974′s “Get Up With It”, a disc of such wildness & total lack of any commercial forethought (& thank the heavens for that) that it was granted pretty much instant deletion upon release & has mainly only been available from Japan for the last 25 years.
Start with the cover: a big, slightly unflattering, grainy photo of The Man. It’s the sight of a man against the world, battling for his own identity. Hit the 1st track, “He Loved Him Madly” (a tribute to Duke Ellington), a 32-minute ambient piece only broken up occasionally by Peter Cosey’s mumbling guitar lines. It’s 1 of the saddest damn songs you’ll ever hear, & you can bet yer booty that if it was made by a bunch of white guys in Berlin ca. ’71, every Krautrock freak in town would be hailing it as a classic. Next track “Maiysha” is a bit schizophrenic. For 10 minutes it merely putters along like a lite Latin number, interrupted sporadically by Miles’ Sun Ra-like organ, then it stops, gets into a hard groove & proceeds to move along to Peter Cosey’s awesome guitar screeches for another 5 minutes. Hot. “Honky Tonk” is up next, a brief interlude of stop-start rhythms & noisy organ crunch. It prepares you for the next track the unstoppable “Rated X”, THE peak of Miles’ – or maybe anyone’s – sonic capabilities. Part hyperdive breakbeat rhythms, part uber-funk, & 9 parts pure noise, there is no other sound on earth as MOVING as this song. Get up with it.
Disc 2 starts with “Calypso Frelimo”, another 32-minute piece that starts where “Rated X” finishes off. Ecstatic peaks of dark psychedelic jamming, aided by Miles’ wah-wah’d trumpet, gel & compete. “Red China Blues” is a brief number that kicks it in a Chess-Records-meets-Ornette way, & the 15-minute+ “Mtume” once again takes you for a ride with its collision of Cosey’s guitar (a highly under-rated player in a field with the likes of Sonny Sharrock) & about half a dozen percussionists. Finishing is “Billy Preston”, more chilling mid-range avant-funk to close the set. “Get Up With It” is the perfect summation of what was filling Miles’ head at the time: the avant electronics of Stockhausen, the cyclical funk of James Brown, the wailing psych guitar of Hendrix, the improvised freeness of Ornette Coleman & as The Man himself put it, “a deep African thing”. Many words have been written on Miles’ music of this period, but to really GET it, you have to LISTEN to it. Not a word is spoken on GUWI, yet it speaks volumes on its creator’s alienation & sense of despair. As far as so-called “out-rock” goes, this is about as “out” as you could get, & certainly about as purely “psychedelic” as music has ever gotten, so do the done thing & get with it.

When Get Up With It was released in 1974, critics — let alone fans — had a tough time with it. The package was a — by then customary — double LP, with sessions ranging from 1970-1974 & a large host of musicians who had indeed played on late-’60s & early-’70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, & others. The music felt, as was customary then, woven together from other sources by Miles & producer Teo Macero. However, these 8 selections point in the direction of Miles saying goodbye, as he did for 6 years after this disc. This was a summation of all that jazz had been to Davis in the ’70s & he was leaving it in yet another place altogether; check the opening track, “He Loved Him Madly,” with its gorgeous shimmering organ vamp (not even credited to Miles) & its elaborate, decidedly slow, ambient unfolding — yet with pronounced Ellingtonian lyricism — over 33 minutes. Given 3 guitar players, flute, trumpet, bass, drums, & percussion, its restraint is remarkable. When Miles engages the organ formally as he does on the funky groove that moves through “Maiysha,” with a shimmering grace that colors the proceedings impressionistically through Lucas, Cosey & guitarist Dominique Gaumont, it’s positively shattering. This is Miles as he hadn’t been heard since In A Silent Way, & definitely points the way to records like Tutu, The Man with the Horn, & even Decoy when he re-emerged.
That’s not to say the harder edges are absent: far from it. There’s the off-world Latin funk of “Calypso Frelimo” from 1973, with John Stubblefield, Liebman, Cosey, & Lucas turning the rhythm section inside out as Miles sticks sharp knives of angular riffs & bleats into the middle of the mix, almost like a guitarist. Davis also moves the groove here with an organ & an electric piano to cover all the textural shapes. There’s even a rather straight — for Miles — blues jam in “Red China Blues” from 1972, featuring Wally Chambers on harmonica & Cornell Dupree on guitar with a full brass arrangement. The set closes with another 1972 session, the endearing “Billy Preston,” another of Davis’ poly-rhythmic funk exercises where the drummers & percussionists — Al Foster, Badal Roy, & Mtume — are up front with the trumpet, sax (Carlos Garrett), & keyboards (Cedric Lawson), while the strings — Lucas, Henderson, & electric sitarist Khalil Balakrishna — are shimmering, cooking, & painting the groove in the back. Billy Preston, the organist who the tune is named after, is nowhere present & neither is his instrument. It choogles along, shifting rhythms & meters while Miles tries like hell to slip another kind of groove through the band’s armor, but it doesn’t happen. The track fades, & then there is silence, a deafening silence that would not be filled until Miles’ return 6 years later. This may be the most “commercial” sounding of all of Miles’ electric records from the ’70s, but it still sounds out there, alien, & futuristic in all the best ways, & Get Up With It is perhaps just coming into its own here in the 21st century.

1970 (3)
- Miles Davis / trumpet
- Steve Grossman / soprano saxophone
- John McLaughlin / electric guitar
- Keith Jarrett / electric piano
- Herbie Hancock / clavinet
- Michael Henderson / bass guitar
- Billy Cobham / drums
- Airto Moreira / percussion
1972 (4, 6, 8)
- Miles Davis / organ
- Cedric Lawson / electric piano
- Reggie Lucas / electric guitar
- Khalil Balakrishna / electric sitar
- Michael Henderson / bass guitar
- Al Foster / drums
- James Mtume Foreman / percussion
- Badal Roy / tabla
- Sonny Fortune / flute
- Carlos Garnett / soprano saxophone
1973 (5)
- Miles Davis / trumpet, electric piano, organ
- Dave Liebman / flute
- John Stubblefield / soprano saxophone
- Pete Cosey / electric guitar
- Reggie Lucas / electric guitar
- Michael Henderson / bass guitar
- Al Foster / drums
- James Mtume Foreman / percussion
1974 (1-2, 7)
- Miles Davis / trumpet, organ
- Dave Liebman / soprano saxophone, flute
- Sonny Fortune / flute
- Pete Cosey / electric guitar
- Dominique Gaumont / electric guitar
- Michael Henderson / bass guitar
- Al Foster / drums
- James Mtume Foreman / percussion

1.Образ iso нужно записать на DVD диск программой ImgBurn, получив в итоге SACD-R.
Какие стационарные SACD плееры играют и не играют рипнутые SACD диски (SACD-R)? (обсуждение).
2.Для проигрывания на компьютере: foobar2000 + sacd-плагин к нему (открывать образ прямо в foobar2000).
Воспроизведение и конверсия SACD на компьютере (обсуждение).